With Rain Dances, Camel began exploring shorter, more concise songs, but it wasn't until its follow-up, Breathless, that they truly made a stab at writing pop songs. Although they didn't completely abandon improvisational prog rock – there are several fine, jazzy interludes – most of the record is comprised of shorter songs designed for radio play. While the group didn't quite achieve that goal, Breathless is nevertheless a more accessible record than Camel's other albums, which tend to focus on instrumentals. Here, they try to be a straightforward prog rock band, and while the results are occasionally a little muddled, it is on the whole surprisingly successful.

Released in 1978 on Manfred Eicher's iconic ECM Records imprint, In Pas(s)ing stands as the legendary, profoundly influential, and only leader date for the label by master jazz guitarist and educator Mick Goodrick. Highly revered as a guitar guru who shaped generations of players at Berklee (including Pat Metheny and Bill Frisell), Goodrick uses this stellar session to manifest a breathtakingly airy, cerebral, and impressionistic masterpiece. For this landmark quartet date, he gathers an absolute dream team of modern creative music titans: British multi-reed explorer John Surman, bass virtuoso Eddie Gomez, and the incomparable, deeply polyrhythmic drum giant Jack DeJohnette. The interplay among the ensemble is spellbindingly fluid, drifting effortlessly through vast, spacious sonic landscapes. Goodrick’s liquid, chorus-tinged guitar chords and delicate single-note lines form an exquisite harmonic web, beautifully countered by Surman's soaring soprano sax or brooding bass clarinet. Moving from the intricate, driving lines of Pedalpusher to the melancholic, crystalline title track, this pristine recording is a masterclass in atmospheric group intuition and a timeless cornerstone of the ECM aesthetic.

Big Joe Turner, too heavy to stand for long, sat impassively in a chair in front of the band and filled the room with his presence, his magisterial baritone, and the passion of the blues. The band might have been Count Basie’s in the ballroom of a great hotel or a pickup group in a crummy bar. It didn’t matter; Big Joe gave any evening full voice and the accumulated wisdom of a life at the center of the blues. In this 1975 recording, Turner applies his incomparable blues story-telling skills to five classics and his new “Martin Luther King Southside.” The band includes one of Turner’s favorite sidekicks, guitarist Pee Wee Crayton. And there are solos by a saxophone giant, Sonny Stitt.

Anita O'Day in Tokyo - singing at the club Sometime, 1978 - and really sounding wonderful! O'Day's got this completely charming way of handling things here - beautiful on the ballads, which seem to drip with all the learned lessons and fragile emotions experienced over the years - but also hitting a few more groovy moments that can remind us that her scatting is pretty nice too!

Second Godley & Creme duet's album is a great one! Most experimental and innovative part of 10cc, after they left he band, started their own career as duet. From every their work you can hear who was responsible for most attractive musical elements in 10 CC early albums' music. Later band's pop-direction is another evidence of the same statement. This album is possibly one of the most successful duet's work combining their melodic song- writing with almost Zappian freaky experimentation and some Queen's bombastic moments.. The result is intelligent,well played and arranged tasteful art-pop. With even many avant-pop elements!
Being quite accessible, this album is excellent example of music, which is art-rock only in part, but at the same time isn't too mellow,over-polished or over-arranged.

Foreigner - Foreigner (1977). Blissful feelings arise at the mere mention of 70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hangar-size choruses, play air guitar solos, forget about any troubles, recall the experience of a first kiss, and quite simply, rock out. Few albums better instill these pleasures than Foreigner’s 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted.
Spearheaded by guitar hero Mick Jones, fresh off success with Spooky Tooth, Foreigner rallied around a talented collective pulled from the U.S. and U.K. Joining up with former King Crimson instrumentalist Ian McDonald and drummer Dennis Elliott, as well as keyboardist Al Greenwood and bassist Ed Gagliardi…

David Byron's first post-Uriah Heep solo album found the singer trying on a number of new musical styles in a bid to establish a new musical identity. Working with producer/multi-instrumentalist Daniel Boone, Byron created an album that was much poppier and musically ambitious than the gothic hard rock that earned him his fame. In fact, Baby Faced Killer is a veritable genre-hopping extravaganza, covering territory as diverse as rockabilly ("Rich Man's Lady"), pure pop ("Heaven or Hell"), and even disco ("African Breeze"). Surprisingly, the album manages to live up to this sense of ambition because its songs are catchy, well-crafted, and brought to life with imaginative arrangements.

Whatever Happened to Benny Santini? is the debut album by the British singer-songwriter Chris Rea, released in 1978. The title of the album is a reference to a name Rea's UK record label (Magnet) had considered christening him with to make him sound more attractive commercially. The album peaked at number forty-nine on the Billboard Hot 200, and charted for 12 weeks. The first single lifted from the album, "Fool (If You Think It's Over)", remains his biggest hit in the United States, peaking at number twelve on the Billboard Hot 100, charted for 15 weeks, and reaching number one on the Adult Contemporary Singles chart, and charting for 18 weeks.